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Clawhammer PR Upcoming Releases 2016 - 2017, pt1

Originally published in :

http://jupiter-variation.com/clawhammer-pr-upcoming-releases-2016-2017-pt1/

Clawhammer PR is a full service music promotion and media relations company specializing in heavy metal and hard rock. Their people were kind enough to provide me early access to some great upcoming releases of their bands. Due to the amount of the presented material, I have decided to split the reviews in parts. I hope you enjoy reading as much as I have enjoyed listening and writing about these awesome records. All the following albums are due in late 2016 - beginning of 2017 and I would suggest that you definitely check them out.

The Mist - Phantasmagoria

Originally released in 1989 and featuring Vladimir Korg in vocals (mostly known as the original singer of Chakal and as the author of lyrics in “To the Wall” from Sepultura’s Schizophrenia album), Phantasmagoria is an amazing and highly enjoyable thrash album. Equally combining aggressive, technical and cross-over (Hate) parts and having a great production, makes one really wonder why this album did not get the attention and recognition it deserved in the first place. After being long time out of print and sought as an obscure item, Phantasmagoria is being reissued by Greyhaze Records on February 3, 2017. If you are a fan of Thrash metal this is the time to fix a historical injustice. Phantasmagoria, is a great album coming from a classic era and as being much more original than all the present day thrash-revivalists is a must have purchase.

Pre-order here : store.greyhazerecords.com/index.phproute=product/product&product_id=463

Sunlight’s Bane - The Blackest Volume: Like All The Earth Was Buried

Another amazing album, but this time not a reissue. Sunlight’s Bane started in 2011 originally under the name Traitor, by friends who have been playing together for years. Their music is Hardcore in the vein of bands like Nails, however what makes Sunlight’s Bane stand out are the more developed and complex song structures which incorporate a lot of Black Metal elements, something that I personally consider as their main advantage as it intensifies the darkness of The Blackest Volume: Like All The Earth Was Buried’s material. Add to the above the superb production and you already have an album candidate to top many lists in the end of 2017. The Blackest Volume: Like All The Earth Was Buried is out on Innerstrength Records on February 17th, 2017.

You can preorder here : innerstrengthmusic.com

Desecrate the Faith - Unholy Infestation

Unholy Infestation is the second album from Texas based Desecrate the Faith (first album Disfigure Arrangement was released in 2014) and is a great choice for those who like Brutal Technical Death Metal. All the elements that make a great album of such genre are present in this record : Hyper-speed blast beats, growling vocals, awesome technical riffs (check out Angel Eater) plus a great production which allows all instruments to be clearly heard without “sterilising” the final result. Desecrate of Faith is out on March 3 from Comatose Music.

comatosemusic.com

Invertia - The Biddings of Tyrants

Despite the quite significant guest list, including Aaron Rossi (MINISTRY, PRONG) and Kevin Talley (SUFFOCATION, DYING FETUS, SIX FEET UNDER), Invertia’s Industrial Black Metal does not quite manage to capture the attention. There are a lot of interesting ideas however one important factor that compromises the final result is the thin and clean production. As a result, The Biddings of Tyrants lacks the darkness and heaviness of bands like Godflesh and Aborym or the grooviness of Ministry. Self released on December 9th can be ordered via the band’s Bandcamp:

invertia.bandcamp.com

Nick Noro - Vietnamm

One of the things I liked in the material that I have been provided access to review is the big diversity. From thrash metal, blackened hardcore, death metal and industrial to finally some great alternative punk rock. Nick Moro is the vocalist of speed metal band Survival (to be honest I have never heard about them before) and in his solo EP Vietnamm, he presents some brilliant first class hardcore-noise-punk in the style of Sonic Youth, Mudhoney, Helmet, Shellac, Wipers, Black Flag etc. The songs are aggressive and intense and had this EP been released in mid 80’s we would be talking about a classic here. The only fault that I could find is the duration, which at 11 minutes leaves the listener “thirsty’ for more. Vietnamm is out on December 2nd.

You can order here :

merdumgiriz.org

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Hostage of Fate - To Bring you Back (L.P.) & Takes Life (E.P.) (2016)

Originally published in :

http://jupiter-variation.com/hostage-of-fate-to-bring-you-back-lp-and-takes-life-ep

In the 9 or so months that I am running this blog, these are respectively the second and third Hostage of Fate releases that I am already reviewing - all of them originally recorded and published within 2016 ! One may question or even challenge the purpose of such an over-productivity and that would probably made sense if we were talking about a band who are commercialising (selling) their music to the public. But fortunately this is not the case here…

Hostage of Fate originate from Rhodos, Greece and they consist of two members (and childhood friends), Achilles Karageorgiou (vocals, all instruments) and George Adamidis (guitars, bass). They describe their music as aggressive and emotional, thought provoking without any boundaries of genres/styles. I will definitely agree with this description. Once, one is exposed to their music (and Art generally), realises that for Hostage of Fate writing and releasing music is a life-cathartic experience and serves as means of redemption. Probably such a sentence (from my side) reads as a pompous exaggeration but I insist…especially after having closely followed their interviews and having read their (outstanding) lyrics in all their releases. 2016 was apart from a highly productive, an artistically successful year for them since it found them releasing two LPs, one EP and participating with their songs in the cover-mount CD compilations of acclaimed metal magazines like Terrorizer (UK) or Ultraje (Portugal).

In both their two latest releases (LP To Bring You Back and EP Takes Life), Hostage of Fate continue in the same musical direction as previously. Harsh and raw Death/Thrash which brings to mind the aggressiveness and the straight and “Into your face” sound of certain bands of the 80’s. I sense that the songs of the two releases were written in different time periods thus the necessity of having them split between the LP and the EP (which were released simultaneously) in order to establish homogeneity. This is also apparent in the natural and inevitable progression which is displayed in the songs of the EP which I consider their most mature output so far, containing also their two best songs: Takes Life/Trojan War.

Hostage of Fate is a band to be highly appreciated and respected for their honesty and their sincere and undeniable devotion to their Art. I, personally carry some additional reasons to value them as their lyrical themes relate to some of my personal life situations of the recent years. Maybe this sounds too biased and in-objective but as I have written several times, Art and especially Music is very much a personal experience for me.

All of their releases are available to be downloaded for free here :

hostageoffate.bandcamp.com

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Amorphis, Long Distance Calling & Cellar Darling - Zürich Komplex 457, 4 December 2016

Originally published in :

http://jupiter-variation.com/amorphis-long-distance-calling-and-cellar-darling-zurich-ko

Two promising metal concerts (the other one was the return of Death metal pioneers Possessed together with Belphegor and ABSU) on the same night in the same city is not a situation offered for easy choices but on one hand the fact that it was a Sunday evening (therefore an overdose of Death and Black Metal would not help my Monday morning wake-up and working week start) and on the other hand the (other) fact that Amorphis setlist was going to be entirely based on their legendary album Eclipse, made me make up my mind and drive down to Komplex 457, despite the fact that this was going to be the third time that I would watch Amorphis live within a period of 13 months!

One thing that I adore when attending concerts in Switzerland - and was also confirmed that night - is the lack of any kind of snobbism against the support bands be it local or not. When Cellar Darling appeared on the stage of Komplex 457, the club was already more than half full and this gave the band the necessary boost they needed as this was their first live performance ever. 3 quarters of Cellar Darling (singer Anna Murphy, guitarist Ivo Henzi and drummer Merlin Sutter) are former members of prominent Swiss folk metal band Eluveitie who were detached last year due to artistic differences. The music direction of Cellar Darling is not that much different from Eluveitie’s(at least judging from the 5 songs I heard them playing during that night) so one can wonder about the nature of these creative differences. Never mind…Having the strong support of the audience and despite the bad sound mix (drums were too loud, vocals were low and guitar almost unheard) which only improved during the last song I have to say that Cellar Darling won the bet with the songs they presented and gave a successful first show. Good luck and all the best for the future!

Long Distance Calling was another reason for me picking the specific concert vs Possessed, as their last album is one of my favourite for 2016 and I have to say that they did not let me down. With a crystal clear sound they delivered a flawless performance of only instrumental compositions. Their overall presence on the scene was full of confidence and showed that are ready for the next step. I dare to predict that their next album will take them to the first league. My only remark for their show was the excessive usage of dry ice which at certain moments gave a suffocating feeling (at least to me).

After 45 minutes Long Distance Calling left the stage and after the necessary scene rearrangements, Amorphis appeared starting the first part of their set which was dedicated to the legendary Eclipse. The sound was perfect (even though the volume was relatively low - probably due to the Swiss regulations - the same ones who mandate live clubs to distribute earplugs during live concerts for free) however Amorphis were apparently tired (this was the last concert of this anniversary tour before returning back home to Finland) but do not get me wrong here, this by no means stopped them from delivering a fully professional show. And this is what makes a band great and separates the amateurs from the professionals. Playing in front of an audience on a Sunday night is not an easy task, but Amorphis without being super hyperactive made us have fun without giving the impression that they were eager to finish and disappear. The second part of the show and the encore consisted from songs from Skyforger and Silent Waters (with only My Kantele from Elegy being the exception). Having seen Amorphis live last spring on the Under the Red Cloud tour plus having also watched their support slot to Nightwish exactly one year ago, made me not mind at all about the setlist. As you can understand I am a fan and as a fan, my expectations were fully met and fulfilled that night. Till the next time…I (we) will be there again…

Set One: Eclipse

Intro (Kullervo)

Two Moons

House of Sleep

Leaves Scar

Born from Fire

Under a Soil and Black Stone

Perkele (The God of Fire)

The Smoke

Same Flesh

Brother Moon

Empty Opening

Set two

Intermission (Piirpauke)

Enigma (Acoustic)

My Kantele (Acoustic)

From the Heaven of My Heart

Sampo

Encore:

Skyforger

Silver Bride

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Mariam the Believer - Blood Donation (2013)

Originally published in :

http://jupiter-variation.com/mariam-the-believer-blood-donation-2013

I bought this record because I was mesmerised by its cover…A woman of exotic beauty holding proudly and with full confidence a white Gibson guitar! …And I have to admit that until the time I arrived home and googled to get the first information, I knew nothing about Mariam the Believer or Wildbirds & Peacedrums (the band that she maintains together with her husband Andreas Werliin). Mariam Wallentin (her real name) comes from Sweden but carries her ancestry from Iran. Multi-talented (she is also an actress), she decided to take a break from touring with Wildbirds & Peacedrums and reinvent herself artistically. Her artistic explorations started with buying a guitar which she decided to learn how to play, finally resulting in recording and releasing Blood Donation in the cover of which she proudly holds the white Gibson probably as a statement of her accomplishment.

Blood Donation is a wonderful album which combines Jazz with elements of Soul, Electronic music and Alternative rock. Mariam in her interviews credits Alice Coltrane as her main influence and inspiration behind this record, but to be totally honest (and speaking as a fan of Alice Coltrane myself) I am struggling to identify any direct references myself. Probably the main similarity is the Jazz direction of the album around which all the other fore-mentioned elements are masterfully blended but expect nothing of the spirituality that characterises Coltrane’s music here. One thing that I personally liked are the most dark moments in the album (like the “Patterns-trilogy” songs: String Patterns, Blood Patterns, Hole Patterns) and I would really be interested in seeing Mariam writing and recording more towards to this direction.

Blood Donation was released in 2013 and since then Mariam the Believer has released only a compilation of remixes from Blood Donation songs, plus The Wind E.P. in 2014 which -to my satisfaction- follows a darker and less up-tempo path than Blood Donation. Personal favourite from the E.P. is Everything Must Change which reminded me of the beloved Chelsea Wolfe.

facebook.com/MariamTheBeliever

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Omega Monolith perform their debut LP "Fungus" in its entirety along with previous and unreleased material at Dipylon Theatre after its release in vinyl by 3...

This is the full live show of Omega Monolith at Dipylon Theatre / Θέατρο Δίπυλον, Athens, Greece for the presentation of their latest full length album “Fungus” on May of 2016.

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Sicher - Sicher (1981)

Originally published in :

http://jupiter-variation.com/sicher-sicher-1981/

One of my main principles as a record collector is to never buy an album only for its collectible value. In other words I would never buy an album that I wouldn’t personally listen to and enjoy in my room. I see record collecting mostly from the music aficionado’s point of view and as such I despise people who are in it only for the profit. During an auction recently, I had the opportunity to purchase the self-titled album by Switzerland’s Sicher for a price which was less than half of what the record had been sold for in the past but -imho- even this reduced price was just too much compared to what I consider the real value of this record to be. So I passed and somehow my instict tells me not to feel bad about it…and you know, I always trust my instict…

But let’s take things from the start. Very few things are known about Sicher. At the time of recording, the group was consisting by Markus Sibler, Klaus Caspar, Beat Lustenberger, Kuno Müller, Peter Müller, Stefan Sieber, Paul Sieber, and Catherine Graf and with the exception of Kuno Müller who is still active as a music tutor and therapist and Stefan Sieber who is a member of Zurich’s Jazz scene, almost nothing is known about the rest. My personal opinion is that Sicher was an one-off project of several (excellent) musicians (most of them having a classical background) who decided to enter the studio, jam and record a Prog Rock album. The final music outcome is also supporting my hypothesis as it somehow lacks originality suggesting that what we have to deal with here is more of a recorded “proof of concept” than a real group with a clear target and an artistic vision.

What you will listen in their self titled LP is Prog Rock with a lot of Jazz and Classical parts (second side of the record opens with a reendition of Bach’s Toccata). What is really interesting (and is one more argument in favour of the hypothesis I stated in the previous paragraph of this text) is that even though the album is recorded in 1981 the songs sound mostly like a tribute to bands of 70’s like Camel or Caravan. The production is crystal clear and shows the abilities and the skills of the musicians (the bass part sounds amazing) but concluding this does not save the final result from sounding like an emulation. A great one maybe but still not genuine.

I would definately buy a reissue of this record (either a CD or LP) if there will be one in the future but somehow I am not convinced enough to spend the amount that is usually asked for this record.

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Il Rumore Bianco - Antropocene (2016)

Originally Published in :

http://jupiter-variation.com/

Il Rumore Bianco (White Noise in Italian) is a 6 member band founded in summer of 2012 in Verona, Italy. Currently, the members of the band are :

Alessandro Zara - lead vocals

Michele Zanotti - guitars, sax

Giacomo Banali - guitars

Thomas Pessina - keyboards, synth

Alessandro Danzi - bass guitar

Andrea Sbrogiò – drums

and despite their name, their music does not have anything to do with noise (be it white or whatever). Antropocene is their second album (they have released one 4 song EP titled Mediocrazia in 2013) and they were kind enough to send me a digital copy for review.

The basis of Il Rumore Bianco’s music is Progressive Rock, however one can easily identify several other elements in it like Jazz (Il Capitale Umano or Tephlon (club) ), post rock (Tempio Pallido), electronic/ambient (Il Guidice e il Bugiardo - my personal favourite from the album) or sometimes even metal (Mediocrazia or the obvious Tool influences in Antropocene pt II).

What can be undoubtedly acknowledged about Il Rumore Bianco, is their musician skills together with their capability to create and deliver complete compositions. A usual trap in which many young Prog Rock bands fall, is letting skills and exhibitionism overcome substance but luckily Il Rumore Bianco succeed in avoiding this. They have absorbed and digested their influences well and have consequently managed to transform them into compositions which can exist independently as songs and not as exercises in form.

Overall, Antropocene is a wonderful record which I would suggest to any serious Progressive Rock fan. If I am allowed to voice only one remark (and probably this is more of a personal preference than a fault) is that I would prefer the production to be less “loud”. I am not sure if it is due to the mix or if the album was actually recorded live, but there is a certain “harshness” in the sound which I do not (personally) thing suits the melancholic and introvert character of their music. But as I said, this is only my personal preference which should by no means prevent you from listening to this excellent band. Thank you guys for giving me the opportunity to listen to your music!

ilrumorebianco.com

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5 track album

Experimental Dark Techno from Greece

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Poor devil: He used to terrify people. Now he's reduced to hawking razor blades and ham. A new exhibition at Stanford University's Cantor Arts Center, "Sympathy for the Devil: Satan, Sin, and the Underworld," traces Lucifer's visual history, from his emergence in the Middle Ages as a horned, cloven-hoofed, foul-smelling, diabolical creature of the night to his denuded and largely...

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I like my music, just like my salad…Greek (Summer-Autumn 2016 Version)

Originally Published in :

https://thegrid.ai/jupiter-variation/

Greek scene is alive and kicking so I have decided to present some of the best releases that came into my hands during this summer-autumn. Enjoy and support your local scene, wherever you are…

Sarabante - Poisonous Legacy

Poisonous Legacy is considered by many the album that will define the Greek crust core scene, however I consider such statements as stupidly obsolete. Hardcore and Crust has always been a strong point in Greece, therefore I do not think that any kind of reference or benchmarking is needed (and especially in a mostly politicised genre). In their second album (3d release overall) Sarabante continue to deliver their trademark dark and ferocious crust core with excellent guitar melodies. For the ones who like bands like Tragedy, this is a must.

facebook.com/sarabante

sarabante.bandcamp.com

Foray Between Ocean - Depression Neverending

Well, I have to say that this one came out of nowhere and struck me in the head. The members of Foray Between Ocean come from several prominent Greek bands (Trendy Hooligans, Sorrowful Angels, Outloud, Sunburst) and in their debut they present one of the most insanely technical Metalcore albums I have ever heard. Having the advantage of a HUGE production (which eventually helps them present their musicianship skills to the full extend) the 11 songs of Depression Neverending are characterised by great riffs, catchy melodies, atmospheric keyboards and some of the greatest drumming that has ever been recorded in a Greek metal album. Foray Between Ocean manage to create a fusion from a variety of metal sub-genres (from High Speed Black Metal, Atmospheric Death, Swedish influenced NWOAHM, Clean Vocals Metal Core) but in a way that the final result is neither a joke nor an insult. Depression Neverending may not be inventing the wheel but it is one of the most enjoyable records I have ever purchased. Spend your money without any concern.

foraybetweenocean.bandcamp.com/releases

facebook.com/ForayBetweenOcean

foraybetweenocean.com

Kataxnia - Stin Skia Mias Lemitomou

Kataxnia play Crust core however the overall vocal delivery (helped by the pessimistic lyrics which are sung in Greek), the melodramatic guitar melodies, the clean production and the inclusion of piano and violin parts result in a more melancholic output (compared to Sarabante). Kataxnia’s second album is not easy material, however this should not stop anyone from buying (or at least listening) to this gem…

kataxnia.bandcamp.com

facebook.com/%CE%9A%CE%B1%CF%84%CE%B1%CF%87%CE%BD%CE%B9%CE%B1-786467128052283

Planet of Zeus - Loyal to the Pack

I am really having a hard time to understand why Loyal to the Pack divided the (Greek mainly) listeners so much. Probably because this is usually how it happens with albums that are eventually proven influential : people find it difficult to understand their importance in the beginning… Planet of Zeus have obviously reached their maturity and, paraphrasing the album title, the only thing that they owe to be loyal to is their artistic integrity. If you want my humble opinion, I REALLY HOPE that this album becomes a reference point for the Greek bands in the future. We need more songs like Retreat to be written. Essential…

www.planetofzeus.gr/

www.facebook.com/planetofzeus/

planetofzeus.bandcamp.com

Omega Monolith - Fungus

Omega Monolith’s music resembles very much a living organism…during the three songs of Fungus, the listener is experiencing the birth, evolution and the sudden death of their Music in a trip which, according to the song titles, seems to follow an inverse direction in time…If I should give only one name to Omega Monolith’s music that would be ALIVE music…

www.facebook.com/Omegamonolith/

www.omegamonolith.bandcamp.com/

Tardive Dyskinesia - Harmonic Confusion

Paraphrasing the album title (I like doing this) Tardive Dyskinesia’s progressive metal is harmonic (just listen how perfectly the saxophone parts fit in Savior Complex… ) but not confusing. Already scene veterans (this is their 4th release) they always had the tunes and the skills but now they also have the proper exposure to descend out from the Greek underground. I will easily put this next to the new Meshuggah, Gojira, Candiria and Wathtower in my 2016 lists…

tardivedyskinesia.bandcamp.com

facebook.com/tardivedyskinesiaband

1000 Mods - Repeated Exposure to…

I have never been a big fan of Stoner rock and this one is my first exposure to 1000 Mods, so probably that makes my opinion more trustworthy (in terms of objectivity at least). So, forget the usual generic second class Black Sabbath copycats that the majority of the stoner bands are since here we are talking about real music. 1000 Mods have created a hype around their name recently but imho they deserve it (anyone who has written a song like The Son and is touring their asses off around Europe given the current Greek financial landscape would).

1000mods.bandcamp.com

facebook.com/1000mods

Sadhus “the smoking community” / Agnes Vein - Split 7”

If there was more justice in this world, here we would have two separate albums instead of a two song split 7-inch. Agnes Vein’sDoom is influenced by Black Metal while Sadhus “the smoking community” are oriented more on the sludge side of it. Both songs are undoubtedly of high quality, however anyone who would like to get more exposure to both bands should definitely give a listen to their previous releases.

agnesvein.bandcamp.com

facebook.com/agnesveinband

sadhus.bandcamp.com

facebook.com/SadhusCommunity

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Violence, nudity, and the occult collide in the photographs of William Mortensen, an American photographer who gained prominence in the 1930s and '40s but today largely exists as an obscure name in the medium's history.

bonesandhexes

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Swans & Anna von Hausswolff - Kaserne Basel *Musik*, 28 October 2016

Originally Published in :

https://thegrid.ai/jupiter-variation/

After I arrived in Kaserne I headed straight to the bar in order to buy myself a beer. On the bench, I immediately noticed the usual box with the earplugs and an ironic smile appeared on my face (for those not familiar, in Switzerland the volume of club and live concert music is regulated by law to 99 db and whenever needed - like in Heavy Metal concerts or gigs like Swans - the concert promoter is obliged to supply free earplugs to the audience). “I think you will need them tonight”, the barman said to me and he continued: “I watched their soundcheck and they are loud…really, really loud”. For a moment I wanted to start telling him stories about the infamous Swans performances of the 80’s, where the music volume was reaching to 140 db and usually had to be stopped after intervention from the Police but I decided that I am too bored to start such a discussion in German, I just smiled at him, took a pair of fancy, fluorescent ones from the box and moved in front of the stage.

Anna von Hausswolff made her appearance sharply at 21:00, together with the two musicians who accompany her during this tour. After some initial moments of preparation, the lights went down and for the next 40 minutes we surrendered to her dramatic drone sounds which at certain moments were reaching to ferocious Black Metal scales. Seeing her on stage, I could not stop myself from thinking that she is the type of cool girl who we all wished once to have as a friend. Pretty enough to make a career as a pop star but in the same moment intelligent and with a great taste in music, capable of spending endless hours discussing things like records, books and movies.

Opening for a band like Swans is a big task but I have to say that night Anna von Hausswollf with her breathtaking performance, fulfilled it with absolute success. At the end, she wished to all of us goodbye and with an innocent and adorable smile (which reminded nothing of the girl who was maniacally head banging at the stage of Kaserne during the previous 40 minutes) left the stage.

Swans arrived at stage at 22:30 and Michael Gira firstly asked to turn on the volume of the lights enough so that he is able to see us. Immediately after, he turned his back to the audience and for the next 50 minutes he performed the role of the conductor by coordinating the rest of The Swans during the repeating but never escalating musical phrases of The Knot (a composition firstly presented during this tour and which is based on No Words/No Thoughts from My Father Will Guide Me Up A Rope To The Sky). For the next two hours Swans delivered a show based mainly on their last two records plus two “unknown” compositions. The sound of Swans in record is tamed but live resembles an absolute beast. This was helped by the volume which was loud (at a certain moment I put my back on the wall and I could feel the whole building - a 19th century military barracks- vibrating). I intentionally moved next to the sound console as I wanted to see the actual level in the monitors but it only showed a “disappointing” 110 db - surely not even being close to the infamous 140s of the past.

Looking at the audience (who by the way were mostly French) head banging, being literally in trance, I started wondering what Michael Gira of the 80’s would have to say about it. Well, the times have changed and even he admits during his interviews that he is a different person now and I think that somehow it is mostly fair to acknowledge that the kids who listen to bands that were inspired by Swans (like Neurosis, Isis, Cult of Luna etc) are now his new audience during this second Swans incarnation. Seeing people with Mercyful Fate and Dead Congregation t-shirts next to hipsters made me think that Heavy Metal is finally taking its revenge by being the blood donor of Alternative Rock.

Swans, definitely delivered the goods that night, giving one of the most loud and extreme performances that were ever held in Basel. If this is really their last tour, then this was a proper and honourable goodbye. As Michel Gira said in the end, “See you probably some other time”…hopefully yes…

Swans Setlist:

The Knot

Screen Shot

Cloud of Forgetting

Cloud of Unknowing

The Man Who Refused to Be Unhappy

The Glowing Man

misslubaluft

Chelsea Wolfe (ph. Ira Chernova)

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